Electronic musical instrument for simulating a wind instrument

1993 ◽  
Vol 93 (5) ◽  
pp. 3020-3020
Author(s):  
Susumu Kawashima
Keyword(s):  
Musical Instrument ◽  
Wind Instrument

scholarly journals First record of the sound produced by the oldest Upper Paleolithic seashell horn

2021 ◽  
Vol 7 (7) ◽  
pp. eabe9510
Author(s):  
C. Fritz ◽  
G. Tosello ◽  
G. Fleury ◽  
E. Kasarhérou ◽  
Ph. Walter ◽  
...  
Keyword(s):  
First Record ◽  
Musical Instrument ◽  
Social Contexts ◽  
Upper Paleolithic ◽  
Wind Instrument ◽  
Large Shell ◽  
Conch Shell

Anthropologists and ethnomusicologists assert that there is no society without song, and more specifically, there is no ritual or celebration without accompanying sound. The production of sounds in social contexts is very ancient. Here, we report on the study of a seashell from the decorated cave of Marsoulas and demonstrate that the Magdalenian occupants of this site transformed this shell into a wind instrument. It is one of the very rare examples, if not the only one for the Paleolithic period, of a musical instrument fashioned from a large shell, and the first conch shell of this use thus far discovered. We already know that prehistoric people transformed many shells into portable ornaments and that they thus attributed substantial corporal symbolism to them. This seashell horn, with its unique sonority, both deep and strong with an enduring reverberation, sheds light on a musical dimension until now unknown in the context of Upper Paleolithic societies.

Energy Expenditure in Brass and Woodwind Instrumentalists: The Effect of Body Posture

2011 ◽  
Vol 26 (4) ◽  
pp. 218-223 ◽  
Author(s):  
Vera AE Baadjou ◽  
Marjon DF van Eijsden-Besseling ◽  
Ans LW Samama-Polak ◽  
Rob JEM Smeets ◽  
Valéria Lima Passos ◽  
...  
Keyword(s):  
Energy Expenditure ◽  
Metabolic Rate ◽  
Exercise Therapy ◽  
Rest Energy Expenditure ◽  
Musical Instrument ◽  
Body Posture ◽  
Rest Energy ◽  
Metabolic Equivalents ◽  
Wind Instrument ◽  
Postural Exercise

Body posture appears to influence fatigue and musculoskeletal complaints in musicians. Our aim was to determine energy expenditure and to investigate whether energy expenditure is affected by body posture in brass and woodwind instrumentalists. METHODS: Eighteen musicians (10 women, 8 men; 6 brass, 12 woodwinds), with a mean age of 39 ± 14 years and mean body mass index of 23.8 ± 4.9 kg/m2, played their instruments for 30 minutes twice: once in nonoptimized body posture (posture A), and once in a posture according to the postural exercise therapy method Mensendieck (posture B). Patients were randomized to the order of postures in a crossover design AB/BA. Playing sessions were preceded and followed by 60 minutes of rest. Energy expenditure was measured in a respiration chamber with indirect calorimetry. Basal metabolic rate was measured with a ventilated hood. RESULTS: Mean metabolic equivalents (MET) for playing a wind instrument in the sitting position in a nonoptimized posture and posture according postural exercise therapy were 1.69 (SD 0.18) and 1.80 (SD 0.22), respectively. Percent change between resting metabolic rate and total energy expenditure while playing was 32% (95% CI 25–39%) in posture B and 23% (95% CI 17–30%) in posture A (p = 0.021). CONCLUSION: Average physical activity while playing a wind instrument approximates 1.8 MET. Our data show an association between energy expenditure and body posture while playing a brass or woodwind instrument: playing a musical instrument in a posture according to postural exercise therapy leads to higher energy expenditure as compared to a nonoptimized body posture. These results suggest that fatigue and the general feeling of lack of energy after playing a musical instrument are not related to actual higher energy expenditure.

scholarly journals PENGGUNAAN METODE DALCROZE DALAM PEMBELAJARAN PIANIKA DI SMA NEGERI 1 TANJUNG RAJA

2021 ◽  
Vol 6 (2) ◽  
Author(s):  
Syaflinawati Syaflinawati
Keyword(s):  
Data Collection ◽  
Learning Theory ◽  
Learning Process ◽  
Qualitative Method ◽  
Musical Instrument ◽  
Learning Resources ◽  
Flexible Pipe ◽  
Context Learning ◽  
Wind Instrument ◽  
Using Data

<p><em>Pianica is a small wind instrument similar to a harmonica, using keyboard blades which has rangeabout three octaves, played by blowing using a flexible pipe connected to the mouth. Pianica learning is designed to train students mentally and physically so that they can interact with others in the form of interactions between students and teachers, the environment, and other learning resources. Furthermore, this study aims to explain the application of the dalcroze method in the pianica learning process and pianica playing techniques using the dalcroze method. The method used in this study refers to the qualitative method using data collection techniques obtained through observation, interviews and field documentation. The results of this study refer to: First, learning pianica is a practical lesson that is useful for improving the skills and abilities and skills of students in playing the musical instrument. In this context, learning dalcroze eurythmics is closely related to solphegio (hearing exercises), improvisation, and eurythmics. Second, the technique of playing the pianica using the dalcroze method is to provide insight and understanding of learning theory, as well as practice. In this case, learning pianica using the Dalcroze method helps the creativity of students in the learning process because it indirectly teaches students to be more thorough, understand and be sensitive to the circumstances or instincts they have.</em></p>

scholarly journals Analysis of a few verbs (based on the 16–17th century texts of the Grand Duchy of Lithuania)

2014 ◽  
pp. 1-20
Author(s):  
Anželika Smetonienė
Keyword(s):  
Musical Instrument ◽  
17Th Century ◽  
Word Formation ◽  
Slavic Language ◽  
Old Russian ◽  
Wind Instrument ◽  
Language Data ◽  
Court Proceedings ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy

This article analyses a few borrowed verbs found in the ancient Lithuanian writings of the 16–17th century Grand Duchy of Lithuania. They are: bū̃bnyti, -ija, -ijo ‘to beat a drum, to beat or knock with something; fig. to speak widely', sū̃dyti, -ija, -ijo ‘to investigate a case in court, to judge; to condemn; to solve, consider; to advise', triū̃byti, -ija, -ijo ‘ to blow a trumpet, to tootle; to cry, to shout loudly; to gulp, to guzzle, to slurp. Their cognates bū̃bnas ‘a drum; fig. a bleak place with no grass, a shore, a bank; the colour of (playing) cards, sū̃das ‘a public, state body to consider court cases, a court; court premises; court proceedings; court decision, verdict, punishment; judge; expression of opinion, assessment, triūbà ‘a wooden or metal pipe-shaped wind instrument, a pipe (musical instrument), a horn, trumpet; a pipe; a curb; a chimney pipe; binoculars'. Some Lithuanian suffixes (e.g., -avo-) are more common only in verbs of a foreign origin, whereas -y-/-i- are equally frequent in the composition of Lithuanian derivatives formed from non-borrowed nouns. On the basis of the principles of word formation in Lithuanian and by means a comparison with the Slavic language data, the present article is an attempt to show how such verbs formed from borrowed root segments and the suffixes -y-/-i- can be interpreted. The Slavic language data were obtained from the etymological and historical dictionaries of Old Belarussian, Old Ukrainian, Old Polish, Old Russian and the dictionaries of Belorussian, Ukrainian, Polish, Russian dialects and the Slavic proto-language.

scholarly journals Kajian Organologi Pembuatan Alat Musik Tradisi Saluang Darek Berbasis Teknologi Tradisional

Panggung ◽  
2019 ◽  
Vol 29 (2) ◽  
Author(s):  
Ediwar Ediwar ◽  
Rosta Minawati ◽  
Febri Yulika ◽  
Hanefi Hanefi
Keyword(s):  
Performing Arts ◽  
Qualitative Method ◽  
Traditional Music ◽  
Musical Instrument ◽  
Study Data ◽  
Musical Culture ◽  
Traditional Technology ◽  
Wind Instrument ◽  
Library Research

ABSTRACTThe music of Saluang Darek wind instrument is Minangkabau traditional music that uses the musical instrument of aerophone classification (air as the main source of vibration) and the kind of end-blown without-block flutes musical instrument, and this musical instrument is used to accompany Minangkabau songs or dendangs. Saluang Darek is made of bamboo. The best bamboos for making Saluang Darek are (1) Talang bamboo (Schizostachyum brachycladum kurz), (2) Buluah Kasok bamboo (Gingantocholoa apus), (3) Tamiang bamboo (Schizostachyum zollingeri steud), and (4) Cimanak bamboo (Schizostachyum longispiculatum). The production of Saluang Darek musical instrument uses the traditional technology by still maintaining the quality of instrument that's ready to be used for the performing arts particularly in accompanying dendang. The method used in this research was the qualitative method by using the approach of organology study. Data were collected through the library research, observation, interview, and documentation. This study found the importance of the musical instrument study in order to give information for the musicologists' and ethnomusicologists' works, at once conserve the musical culture in West Sumatera.Keywords: Saluang Darek, Organology, Aerophone, Traditional technology ABSTRAKMusik tiup Saluang Darek adalah musik tradisional Minangkabau yang menggunakan alat musik klasifikasi Aerophone (udara sebagai sumber getaran utama) dan alat tiup jenis end-blown without-block flutes digunakan untuk mengiringi nyanyian atau dendang Minangkabau. Alat musik Saluang darek terbuat dari bambu, yang paling baik untuk alat musik Saluang adalah (1) bambu  talang ( Schizostachyum brachycladum kurz), (2) bambu buluah kasok (Gingantocholoa apus), (3) bambu tamiang (scizostachyum zollingeri steud), (4) bambu cimanak (Schizotachyum longispiculatum). Pembuatan alat musik Saluang darek menggunakan teknologi tradisional dengan tetap menjaga kualitas alat yang siap dipakai untuk seni pertunjukan dalam mengiringi dendang. Metode yang dipakai dalam penelitian ini adalah metode kualitatif dengan pendekatan kajian organologi. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Kajian ini mendapati pentingnya   kajian instrumen musik untuk memberikan infomasi dalam pekerjaan musikolog dan etnomusikolog, sekaligus pelestarian budaya musikal di Sumatera Barat. Kata kunci: Saluang darek, Organology, Aerophone, Teknologi tradisional ABSTRACTThe music of Saluang Darek wind instrument is Minangkabau traditional music that uses the musical instrument of aerophone classification (air as the main source of vibration) and the kind of end-blown without-block flutes musical instrument, and this musical instrument is used to accompany Minangkabau songs or dendangs. Saluang Darek is made of bamboo. The best bamboos for making Saluang Darek are (1) Talang bamboo (Schizostachyum brachycladum kurz), (2) Buluah Kasok bamboo (Gingantocholoa apus), (3) Tamiang bamboo (Schizostachyum zollingeri steud), and (4) Cimanak bamboo (Schizostachyum longispiculatum). The production of Saluang Darek musical instrument uses the traditional technology by still maintaining the quality of instrument that's ready to be used for the performing arts particularly in accompanying dendang. The method used in this research was the qualitative method by using the approach of organology study. Data were collected through the library research, observation, interview, and documentation. This study found the importance of the musical instrument study in order to give information for the musicologists' and ethnomusicologists' works, at once conserve the musical culture in West Sumatera.Keywords: Saluang Darek, Organology, Aerophone, Traditional technology ABSTRAKMusik tiup Saluang Darek adalah musik tradisional Minangkabau yang menggunakan alat musik klasifikasi Aerophone (udara sebagai sumber getaran utama) dan alat tiup jenis end-blown without-block flutes digunakan untuk mengiringi nyanyian atau dendang Minangkabau. Alat musik Saluang darek terbuat dari bambu, yang paling baik untuk alat musik Saluang adalah (1) bambu  talang ( Schizostachyum brachycladum kurz), (2) bambu buluah kasok (Gingantocholoa apus), (3) bambu tamiang (scizostachyum zollingeri steud), (4) bambu cimanak (Schizotachyum longispiculatum). Pembuatan alat musik Saluang darek menggunakan teknologi tradisional dengan tetap menjaga kualitas alat yang siap dipakai untuk seni pertunjukan dalam mengiringi dendang. Metode yang dipakai dalam penelitian ini adalah metode kualitatif dengan pendekatan kajian organologi. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Kajian ini mendapati pentingnya   kajian instrumen musik untuk memberikan infomasi dalam pekerjaan musikolog dan etnomusikolog, sekaligus pelestarian budaya musikal di Sumatera Barat. Kata kunci: Saluang darek, Organology, Aerophone, Teknologi tradisional 

scholarly journals Risk Assessment and Mitigation of Airborne Disease Transmission in Orchestral Wind Instrument Performance

2020 ◽  
Author(s):  
Aliza Abraham ◽  
Ruichen He ◽  
Siyao Shao ◽  
S. Santosh Kumar ◽  
Changchang Wang ◽  
...  
Keyword(s):  
Disease Transmission ◽  
Risk Mitigation ◽  
Musical Instrument ◽  
Aerosol Concentration ◽  
Mitigation Strategies ◽  
Thermal Plume ◽  
Airborne Infection ◽  
Instrument Performance ◽  
Wind Instrument ◽  
Airborne Disease

AbstractThere has been growing concern about high risk of airborne infection during wind instrument performance as the COVID-19 pandemic evolves. In collaboration with 16 musicians from the Minnesota Orchestra, we employ multiple experimental and numerical techniques to quantify the airflow and aerosol concentration emitted from ten wind instruments under realistic performance conditions. For all instruments, the extent of the flow and aerosol influence zones are limited to 30 cm. Further away, the thermal plume generated by the human body is the dominant source of flow. Flow and aerosol concentration vary in response to changes in music amplitude, pitch, and note duration, depending on playing technique and instrument geometry. Covering the trumpet bell with speaker cloth and placing filters above the instrument outlet can substantially reduce the aerosol concentration. Our findings indicate that with appropriate risk mitigation strategies, musical instrument performance can be conducted with low risk of airborne disease transmission.

scholarly journals The Dilemmas of Flexibilisation of Vocational Education and Training: A Case Study of the Piano Makers

2021 ◽  
Vol 8 (1) ◽  
pp. 115-135
Author(s):  
Carmen Baumeler ◽  
Sonja Engelage ◽  
Alexandra Strebel
Keyword(s):  
Labour Market ◽  
Research Question ◽  
Musical Instrument ◽  
Vocational Education And Training ◽  
Occupational Identity ◽  
Voluntary Work ◽  
Occupational Title ◽  
Regulatory Changes ◽  
Wind Instrument

Context: Dual VET systems are often praised for their labour market proximity because of economic stakeholders’ involvement. However, when labour market requirements change rapidly, a lack of flexibility is attributed to them. This occurs in times of fast socio-technological change like the current digital transformation. A repeatedly proposed measure to increase system flexibility is to reduce the number of occupations and create broader occupational profiles, for example, by combining similar occupations into so-called occupational fields. However, little is known about actually establishing occupational fields.Approach: Against this backdrop, we address the following research question: How was an occupational field created? As Switzerland attempted to merge occupations over a decade ago, we selected an information-rich and illuminative case concerning the research question: The piano makers’ occupation as one of the first occupations required to merge into an occupational field called musical instrument makers together with organ builders and wind instrument makers. Based on a qualitative case study, we reconstruct the process of occupational field construction by combining expert interviews with comprehensive document analysis and present its narrative.Findings: Based on this case study, we contribute to the understanding of VET flexibilisation by detailing occupational field creation and identifying opportunities and challenges. Here, we pay special attention to the institutional work of the affected occupational association and identify the importance of preserving its collective occupational identity. Although regulatory changes disrupted the piano makers’ occupation, the occupational association reinstitutionalised it as part of the musical instrument makers’ occupational field. Over a decade later, the piano makers reintroduced their former occupational title, which is deeply connected to their occupational identity. Conclusion: The results indicate that VET reforms that promote flexibilisation by creating occupational fields encounter serious limitations in collectively governed dual VET systems. In the Swiss system, occupational associations are core collective actors that rely on their members’ voluntary work. To maintain these economic stakeholders’ necessary commitment to VET, their collective occupational identity, symbolized by their long-standing occupational title, needs to be preserved. 

Musical Experience Shapes Neural Processing

2020 ◽  
Vol 31 (2) ◽  
pp. 81-86
Author(s):  
Wido Nager ◽  
Tilla Franke ◽  
Tobias Wagner-Altendorf ◽  
Eckart Altenmüller ◽  
Thomas F. Münte
Keyword(s):  
Mismatch Negativity ◽  
Pure Tone ◽  
Musical Instrument ◽  
Active Listening ◽  
Musical Experience ◽  
Neural Processing ◽  
Neural Adaptations

Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the temporally deviant stimuli which was greater in the musicians for tone series and particularly large for drummers for drum sequences. In active listening conditions drummers more accurately and more quickly detected temporally deviant stimuli.

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